Ungebändigt

Susan Hayward, Stephen Boyd, and Theodore Bikel star in "Woman Obsessed," a 1959 film set in Canada.

Mary Shannon (Hayward) is a grieving widow with a young son (Dennis Holmes) who hires a man named Carter (Boyd) to help her with her farm. They eventually marry, in part to stop the town gossip. Carter turns out to be more troubled than he let on, and becomes angry with the boy, whom he considers a coward, and then violent toward Mary. When a crisis occurs, Mary learns what's behind Carter's outburst toward her son and the resulting violence toward her.

The acting in this film helps the movie, which is slowed down and cut up by too many establishing shots of beautiful scenery. Hayward does a good job as a strong woman who attempts to put her grief aside and move on, but finds it difficult. And Boyd is excellent as a man in great pain who faces rejection from the people he loves; the more he's rejected, the more angry he becomes.

Slow moving. It's a shame we lost Boyd so early on - he was a strong actor and very handsome.

Susan Hayward's excellence never comes as any surprise, because she could do anything. From a country preacher's wife in 'I'd Climb the Highest Mountain', to the executed (probable) murderess in 'I Want to Live', the pushy garment district broad in 'I Can Get It For You Wholesale', she also did comedy in 'The Marriage Go-Round' and played Bette Davis's nympho daughter in 'Where Love Has Gone'. These off-the-top-of-my-head roles barely scratch the surface, of course, of her peerless range.

Stephen Boyd is the rustic who comes to help out on the farm after Hayward is left with her son--played by an excellent, most sensitive child actor, Dennis Holmes--after her husband is killed fighting a fire. And Boyd is marvelous: strapping, rangy and handsome, crude and violent, and the plot twists around nicely on the refinements of life versus the necessities: During the first half, it seems as if Boyd's uncouthness is the only real urgency to be dissolved or removed; toward the end it seems as if Hayward has not been understanding enough. She would have been had he not been so inarticulate, of course. Nevertheless, this film is complex enough in terms of relationships and matters of making judgments and searching for compromises that are tolerable for different kinds of sensibilities--there are intelligent moments in which the local doctor seems to serve as psychoanalyst for both husband and wife.

It is a shame that these two weren't also paired as Oliver Mellors and Constance Chatterley: they look the parts (and could have certainly done them well) far more than any versions thus far made (and it's hard to imagine any more will be needed.)

Another recapturing of something I missed 45 years ago, when one Sunday afternoon I couldn't "go to the show" and had to go to my aunt's far older husband's birthday party, or it was their anniversary in their house in Ozark, Alabama...I hated it, but seeing this finally after all these years--and the nature of the film itself has something to do with this too--has made me happy I saw my ancient old uncle, who had once been a probate judge--and I saw him but one more time. I'd been unkind. And only now can I remember how important I know it was for him that I be there.

This was one of the most worthwhile of my childhood/teenage movie deprivations. The scene toward the end in which Robbie (Holmes) tries to kill Frank (Boyd) by leading him into the quagmire (advertised so many times previously in the film I thought the title of the film was going to be about how Robbie fell into the quicksand and Sharron (Hayward) actually became OBSESSED! since her grief for her first husband's death and her disgust at her new husband's crudeness would have been just cause if then combined with the death of her son, too; she does have a miscarriage, but that is not quite the same)and then helps him pull himself out with a tree limb--this is a truly touching and tender moment.

The only really unconvincing thing about this movie is the title: Hayward's character is under great hardship, but her reactions to the rough nature of Boyd's character are normal to say the least. She makes some mistakes, but she is just NOT a WOMAN OBSESSED. This ranks as perhaps the most misleading title I have yet encountered.

The photography, in the Canadian Rockies, is often breathtaking.

Barbara Nichols is perfectly refreshingly racily divine as a gossipy town blonde babe.

I found the title of this film slightly misleading as Susan Hayward shuns her glamorous looks to play "Mary". She lives happily with her husband and young son "Robbie" (Dennis Holmes) until a forest fire renders her a widow and she really begins to struggle to maintain their small farm. Things might improve though when "Fred" (Stephen Boyd) arrives on the scene. He had been working at a local lumber mill but the conflagration put paid to that. For C$80 per month, he agree to stick around the place and help out. He sleeps in an annexe to the barn and as time passes it becomes clear what's going to happen next... "Fred" has something of the "Jekyll" to him though, and as he struggles to relate to the youngster and increasingly to his new wife, we discover that he has some baggage of his own and that is seriously compromising his new family. Tempers - and the weather - flare up and soon lives are in danger. Boyd does an ok job here, but is hampered by the scope of his character. The man we see at the start of the film isn't really the violent, bad-tempered, man we see in the middle - and we only have sparse crumbs to explain this change from the rather undercooked screenplay. The production benefits from some fine cinematography, it also suffers from some clearly studio based external scenes and a snow storm that must have all but exhausted the Californian confetti supply. Hayward offers a convincing performance here as the doting mother and the film tells a story of the pioneering spirit from a slightly different perspective.

I loved this movie because of Susan Hayward. But it is a good story, set in beautiful country. Stephen Boyd shows his devotion to both the mother and the son. The story line is beautiful and although it is somewhat flowery, it is believable. This is one of those memorable movies that one wants to see time and time again. And I have.

Woman Obsessed teams Susan Hayward and Stephen Boyd in a rugged northwestern about a widow and the farmhand she hires. Though set in Canada according to the Citadel Film Series book, The Films Of Susan Hayward the outdoor scenes were shot in Lone Pine, a location that director Henry Hathaway favored. He had shot The Trail Of The Lonesome Pine in that area over 20 years earlier.

When we first meet Hayward, she's a happy rural woman with husband Arthur Franz and son Dennis Holmes. But then Franz is killed and Susan's really up against it raising a child and trying to work a small farm. She hires a brooding Stephen Boyd as a hand.

Although not mentioned as per The Code, Hayward's got other needs that are subtly suggested and Boyd does have a superficial resemblance to Franz. But it's superficial only. Boyd is inarticulate and almost surly at times, especially around young Dennis Holmes.

This was the strength of Woman Obsessed. The plot could have gone in several directions, Boyd's very inarticulateness could have hidden great sadness, great humanity, or an incredible villainy. You really don't know until the end how it will turn out. Though Hayward is top billed, the film really does turn on Boyd's performance.

Also in the film is Theodore Bikel as the area's doctor, a very compassionate and humanitarian man and Barbara Nichols who just comes across too much as a wisecracking city dame. You don't find people like her in the rugged Northwest.

Woman Obsessed holds up well today. Canada still has rugged frontier area and people probably do still live the way Hayward and Boyd do.